Drums announce the arrival of the herd. They are Russian soldiers of the Red Army, they come half drunk and they have noticed Katiuska. They are going for it. But they are stopped by Peter Stakof, Bolshevik commissar, who drives away the mobs and falls in love with the last descendant of the Tsars. In the end, she will have to decide whether to leave Russia and continue her aristocratic life in exile and without her lover or to remain a village woman, but in love. And do not march, prefer the love of money.
The character created by Pablo Sorozábal and Emilio González del Castillo, in 1931, could choose. Rocío Ignacio, soprano who will give life to the noble dethroned in the most important premiere of the season of the Teatro de la Zarzuela, will not be able to decide so much. The tenors earn more than the sopranos, if they are not called Ainoha Arteta. Her love for her job is, as for the rest of her classmates, "a harsh reality". Rocío Ignacio assumes as she can, grateful for 16 years of a brilliant career, although remembering how difficult it is for a woman to stay: "We are many and the competition between us makes it difficult", she says, like her Katiuska in the war.
When the curtain rises on Thursday Katiuska, the Russian woman -For 14 performances- you will already know, for the first time, the fees that the top part of the cast will charge. The entry into force of the Transparency Law obliges to make public any contract that exceeds 50,000 euros. The public theater accepted their caches and the soprano Ainhoa Arteta will act alone in the first two performances for 28,000 euros net, in the leading role, Katiuska.
The character of Pedro Stakof, a Bolshevik commissar who must opt for his proletarian ideals or for the love he feels for the heiress of the old Russian empire, Carlos Álvarez will do 70,000 euros for seven days. Ángel Ódena will substitute the baritone from Malaga, who will charge 49,000 euros net. Rocío Ignacio replaces Arteta and will win for a week, 31,500 euros, almost 20,000 euros less than his partner. None of these figures exceeds the performance of the quoted tenor Jorge de León, who will play Prince Sergio (two shared appearances) for eight days and will charge 76,000 euros net.
We must also add the fees of director Emilio Sagi (30,000 euros). The director of the Zarzuela, Daniel Bianco, is responsible for the scenery, so that his salary is added the 7,000 euros, in concept of "intellectual property right". The ambitious montage attracts the great figures of the national cultural policy. The former Minister of Culture, Íñigo and Méndez de Vigo, of the PP, has already confirmed his attendance, as José Guirao, the current incumbent. The two ministerial teams, face to face.
On the salary gap between men and women, the new team of Inaem, directed by Amaya de Miguel, ensures that it is "the agent who has to ensure the interests of their customers." Although it does not seem logical that the market influences a public institution, from the Inaem they add that the caches of the artists "are dictated by the market" and "there are those who achieve excellence and others who are on the way". In la Zarzuela, the salaries of actors and actresses are negotiated, are not regulated and are dictated by causes as ambiguous as "international projection" or "recognition".
However, this situation of unregulated caches clashes with other units under the umbrella of INAEM. In the National Dramatic Center, the agreement dictates that the fees in no case exceed 300 euros per function. In the Teatro Español (Madrid City Hall), the maximum is 360 euros and the minimum 160 euros per function. Recognition is rewarded, but in much lower amounts.
For Carlos Álvarez the caches of lyrical performers "are worth much more than 360 euros, because you act 15 days and not a month," he explains. The singer will charge about 10,000 euros per show, after lowering fees to act in the Zarzuela. "What is worth our work is determined by the opinion of others, it does not influence whether you are a man or a woman," says Álvarez, for many the new Plácido Domingo. "We negotiate depending on our position in the market, it is a law of supply and demand," he adds.
Alfonso García León is the representative of Álvarez, Rocío Ignacio and Jorge de León and recognizes that this gap in the lyric amends: "It costs more to place them because there are fewer tenors than sopranos. You can not ask 2,000 euros more even if they are worth it, because there will always be who does it for less. " Ensures that for each tenor there are "about thirty" sopranos. From the agency, they explain to EL PAÍS that Rocío Ignacio "has an international career of the first magnitude". "She usually sings with them and the three of them are in the first division, but it's not Anna Netrebko, of course."
In the editing directed by Emilio Sagi, Rocío Ignacio has discovered in Katiuska an idealized but fighter woman, whose femininity is conditioned by her rancid ancestry. Explains that the cache of a woman, except in the case of a superstar like Arteta, it costs to make it grow and equal to that of men. Do not think it's unfair, "it's the market." And he prefers not to complain because there are others who are in a situation of greater weakness.
"Inequality is difficult to demonstrate and they take advantage of it", answers Pilar Jurado, soprano, composer and orchestra director who publishes the album Blue unicorns and is a candidate to chair the SGAE. "In the lyrical world it is very difficult to know if the genre influences the cache, but if it happens in the world of cinema also in the world of lyric, we will only end inequalities when we arrive at positions of power. more generous society with women to win the future. " Maybe Amaya de Miguel can remedy.
Berta Ojea, head of equality for the Union of Actors and Actresses, explains that she does not miss this difference in fees, because "it is a habit in music, not only in the cinema". "We do not talk about the market, we talk about the wage gap, market prices are only put by those interested and the Law of Equality should undertake sanctioning measures in a case like this, especially in the case of a public theater." There is no justification for Rocío Ignacio earns less than half that of Jorge de León or 20,000 less than Ángel Ódena, the director of Zarzuela should start to apply the Law, "Ojea asks. Since the association is explained that the promotion of men's career is always simpler, "because they have everything in favor." "They are the managers, they are the programmers, they are the directors, they are the protagonists …"